4.5 stars. I would describe Zorn's discography as intimidating to say the least. He has hundreds of releases starting in the late seventies right up to today. The only musician I know to surpass him is the prog-related guitarist BUCKETHEAD who started about 15 years later than Zorn, yet has surpassed him by a wide margin. It's laughable to think that anyone could take us on an album by album tour of Zorn's albums. Just to put this in perspective, I own and highly recommend five albums Zorn put out between 2012 and 2017. And that's only 5 of the some 45 studio albums he put out over that period. Surely Zorn and Buckethead have studios in their homes, because they apparently live in the studio.

One of the keys for me for opening the door to Zorn's world was experiencing the Zorn-led band ELECTRIC MASADA. More ethnic sounding than Zorn's "Inferno" from 2015, or 2017's "The Garden Of Earthly Delights", both trios. Or this record which fits in between those two, released in 2016 "The Painted Bird" has the same trio as the other two records, but adds two more percussionists, one playing vibes and the other congas/ voudun drums. And so this one is unique of the three with the vibes added, and they sound incredible. They bring a warmth and tone to an album that is just so powerful at times. When you see an album tagged with brutal prog, hang on to your hat.

I have a top four, and I love the opener "Snakeskin" which is the longest, approaching 8 minutes. This one settles into a groove 1 1/2 minutes in after being led by vibes and some powerful outbursts to start. The guitar and organ are so impressive here. The drumming 3 minutes in needs to be mentioned as well. Track three called "Ravens" continues the quality and heavy outbursts, but "Nettles" is where they ease up with plenty of atmosphere and vibes. I just am so into the "sound" here. "Night" is my final top four. Depth and heaviness. The guitar is on fire after 4 minutes and man it gets heavy after that.

So the little taste that I have taken from this massive discography that Zorn has created has actually made me feel quite content and happy. Before these records, along with "Mount Analogue" from 2012 and "Interpretation Of Dreams" from 2017 I had only experienced "Naked City" from 1990 which left me unimpressed to say the least. I at least have a sweet spot when I comes to Zorn, and I'm more than okay with that.

"Fables of the Sleepless Empire" is the third full-length studio album by Canadian avantgarde/progressive metal act Unexpect. The album was independently released in May 2011. It´s the successor to "In a Flesh Aquarium" from 2006, which was the band´s breakthrough album.

"In a Flesh Aquarium" was a highly complex, technically well played, and experimental avantgarde metal release and it has received a lot of praise over the years, and not surprisingly Unexpect have chosen a relatively similar sound and approach on "Fables of the Sleepless Empire", although "Fables of the Sleepless Empire" sound a little less chaotic and polished compared to its direct predecessor. The vocals vary between female semi-operatic cleans, male cleans, and a varity of male extreme metal vocal styles (growling, snarling, screaming...etc.). In addition to the vocals, drums, guitars, bass, violin, piano, and samples are the instruments used to create the sound. The instrumental part of the music features elements of death metal, black metal, and symphonic metal, and often features classical music influenced sections or elements. All packed into abstract and complex avantgarde metal structures and dissonance. The tracks are ever changing and they take a while to get into and remember.

"Fables of the Sleepless Empire" features a clear, powerful, and detailed sound production, which perfectly suits the material and which help bring all elements of the band´s music to the listener. Upon conclusion "Fables of the Sleepless Empire" may suffer a bit from not being as surprising to the listener as "In a Flesh Aquarium" was, when it was released, but it´s overall another high quality release from Unexpect, and if you enjoyed the sound of "In a Flesh Aquarium", this one is a safe bet. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Grace Under Pressure is one of the better albums from Rush's synthesiser-oriented period, which was a stylistic departure which wasn't to everyone's tastes. To date, the main official live release from this era was A Show of Hands, which naturally focused on songs new to the era rather with only Closer To the Heart pre-dating it - as a result, it didn't really reflect their actual setlists of the time.

This live document of the Grace Under Pressure tour redresses the balance by offering something a bit closer to actual concert setlists of the time (though it's a bit truncated at just over an hour long, rather than presenting a full-length show). With more guitar-heavy songs in the mix, this results in a more varied sound than the studio album, though there's still a strong focus on recent-ish songs - the only pre-Permanent Waves tune played in full is Closer To the Heart, and there's a few more fragments present as components of the two medleys which bracket Vital Signs towards the end, and that's it.

Still, the sound here is rockier than that presented on A Show of Hands - the material on that was recorded in 1986-1988, when Rush had gone even deeper into synth territory and had heavily layered their studio compositions to the point where to reproduce them onstage they had to resort to a certain amount of preprogrammed synth parts, curtailing the scope to deviate from the studio renditions of songs and lending a somewhat cold and overly-polished air to proceedings. In contrast, it's apparent here that in 1984 the band were still a bit looser and more organic onstage, which is generally helpful, and so it's quite handy for giving a broader picture of what Rush were doing live in this period.

It's not perfect; the overall sound a bit muffled to me, and the audience is overly present in the mix. At the same time, that very lack of perfection makes this the ideal counterpoint to the overly precise Show of Hands.

After reviewing one release by SWANS' side project ANGELS OF LIGHT, I was encouraged to have a gander at an issuance from the parent group, and that turned out to be "Burning World". In my focused and threadbare 1980s rock paradigm, this possibly atypical MIchael Gira production sits comfortably above what I have heard from noted influence NICK CAVE and strikingly beneath the best work by another perceived (by me anyway) influence the late David McComb of the Australian group THE TRIFFIDS. I acknowledge that McComb itself must have modelled himself after Cave, but with a more rooted approach he was always destined to appeal to me much more. While main squeeze Jarboe helps offset the Gira drone on a few tracks, that is unfortunately all she does since those numbers are generally innocuously forgettable.

This is folkier than I was expecting, with nary a trace of what I would anticipate from highbrow math rock or the documented clout on metal purported of SWANS. Of course, in and of itself this is a plus for me, and on "The River that Runs with Love Won't Run Dry",the MOODY BLUES ish "Mona LIsa Mother Earth, and the poignant "Universal Emptiness" and "God Damn the Sun", Gira's tendency to help us to heaping spoonful upon spoonful of angst is at its peak. Most of the rest offers satisfying glimpses of his dissatisfaction blended with the musical drudgery that is just the wrong side of the tracks from his stock in trade. It's a balancing act handled well but not spectacularly so. Gira's voice is a plus throughout and his level of decline over the next decade and a half is shocking

"Burning World" is a solid collection with sparks aplenty but which doesn't ignite nearly enough to warrant classic status.

Without initially intending to and during the extensive promotional tour for "The Division Bell", David Gilmour and the other members of Pink Floyd decided that it was propitious to include the entirety of the iconic "The Dark Side of the Moon" in the setlist of the shows still to come. And that idea came to fruition with the recordings at London's Earls Court in November 1994 and their subsequent release as "PULSE" (1995), a live double album.

The two sections that make up "PULSE" show the enormous quality and neatness of the trio that survived the bitter quarrels with Roger Waters, with the utmost care for instrumental details (although it is true that Gilmour's voice is perceived as a little exhausted at times), and that counts, as on the "A Momentary Lapse of Reason" tour, with a group of support musicians that enhance and help to sustain even more the lavishness and melodic richness of each performance.

Timeless band tracks like "Shine on You Crazy Diamond", the cosmic "Astronomy Domine", the disturbing "One of These Days" and its astral additions in the middle section, or the mega hit "Another Brick in the Wall: Part Two", intermingle with novelty pieces from "The Division Bell" like the bluesy "What Do You Want from Me", the heartfelt "Coming Back to Life" or the majestic "High Hopes", shaping the first section of the album.

The second section reproduces very faithfully the complete "Dark Side of the Moon", with the addition of the very good guitar solos by Gilmour and guest Tim Renwick and the notorious bass of guest Guy Pratt on "Money", the deep sax of another guest Dick Parry on "Us & Them", and the awakened and boxed guitar solo again by Gilmour on "Any Colour You Like", before the lunatic closing with the impeccably executed "Brain Damage" and "Eclipse"'. The encore was crowned by the delicate "Wish You Were Here" chanted by the audience, the unsurpassed guitar solo on the timeless "Comfortably Numb", and the vocal interplay between Gilmour and Pratt on the escapist and thunderous "Run Like Hell", to the general ecstasy of the venue.

"PULSE" was a renewed communion between Pink Floyd and their audience who, judging by the remarkable success of the tour, did not seem to attach much importance to the absence of the former leader.

4 stars

There is a particularly morbid and even depressive quality to the music of Katatonia's fifth studio album 'Last Fair Deal Gone Down', a peculiarity that characterizes this album much more than any other release by the band, an omnipresent melancholic, dark aspect in the way the album has been conceived and constructed that has never been replicated on the following releases, quite heavy and dark in their own respect, too. However, this release marks an important stylistic shift for the band, as the Swedish outlet led by Jonas Renkse and Anders Nyström swiftly move away from their earlier death-doom and goth tropes towards a more alternative metal direction, with a sound that preserves the gloominess of early Katatonia but the music is given a more contemporary spin. I could imagine how the brooding sounds of this release might have been influential to an extent to Porcupine Tree or eventually Anathema and Pain of Salvation and what they were doing later on in the decade (all of this is in the domain of speculation, of course).

Being the band's fifth album, the sound and production of 'Last Fair Deal Gone Down' are apparently more mature and professional and while Katatonia had been toying with alternative metal on preceding albums, it is this one that truly encapsulated and portrays their new direction. The result is an incredibly solid, diverse and intricate album, much more streamlined and experimental in a way, too, marking what would become the first really solid lineup of the Swedish metal act. The personal themes of the album, linked naturally to band leader Jonas Renkse's experience in life, further allow each song to have a more distinct character as each track becomes a little story on its own, either fictional or reflecting Renkse's personal problems. All this results in an incredibly intense and melancholic album, a cathartic experience that could rarely be replicated by another album or artist. On an album where each track is a highlight by itself, particularly strong and memorable pieces include the opening track 'Dispossession', 'We Must Bury You', 'Teargas', 'Tonight's Music', 'The Future of Speech' and 'Sweet Nurse'. A powerful and emotive release by Katatonia that stands as one of their finest moments.

Review Nº 840

Starcastle is an American symphonic progressive rock band from Champaign, Illinois, which was formed in 1972. It was disbanded in 1987, reformed between 1997 and 2007 and that was re-reformed again since 2018. However, in reality, Starcastle was born in 1969 as St. James. In 1974 they adopted the name Starcastle, and in 1976 the band released their eponymous debut studio 'Starcastle'. While critics point to Starcastle as a Yes' replica, the album was admittedly a hit, especially in the United States and Canada. Since they were a successful band in the beginning of their musical career, they were opening acts for bands such as Jethro Tull, Gentle Giant, Kansas, Boston, Rush, Journey, and some others.

Despite have a sound very similar to that of Yes, in reality their music is a bit lighter, as if they wanted to do something more environmental, more AOR. Their interpretations are clear, precise and well executed. They use the vocals as vocal games, like if they are part of another instrument, thereby losing some of the intention used in the instrumental parts.

After the success of 'Starcastle', their record label Epic decided to entrust the group to Roy Thomas Baker who was responsible for discovering Queen and with whom he produced the first five albums of Queen. So, it was with Baker that Starcastle released 'Fountains Of Light', which is in general considered their masterpiece. The album didn't reissue the same commercial success as its predecessor, yet it sold very well. The arguments at the time were to consider the first one more accessible, while this one with more complex lines eventually decreased their audience.

The band's style is often compared to Yes largely because of the Luttrell voice, which is sometimes indistinguishable from Jon Anderson's, and the arrangements given some resemblance to albums like 'Time And A Word' and 'Fragile'. The lyrics also address Anderson's favourite themes, evoking admiration for nature, high spirits and fantasy. However, the group considers the influence of other styles, notably North American groups like Kansas, Boston, Styx and REO Speedwagon. And indeed, they can meet all this demand with quality by producing a great progressive rock album.

So, 'Fountain Of Lights' is the second studio album of Starcastle. The line up on 'Fountain Of Lights' is Terry Luttrell (lead vocals), Matthew Stewart (backing vocals and electric guitar), Stephen Hagler (backing vocals and electric guitar), Herb Schildt (piano, synthesizer and organ), Gary Strater (backing vocals, bass guitar and Moog Taurus) and Stephen Tassler (backing vocals, drums and percussion).

'Fountain Of Lights' has six tracks. The first track 'Fountains' is the epic track on the album. The album gets off on the right foot and as the ten minute long song winds its way through complex, yet upbeat passages, it becomes an almost irresistible combination. Luttrell really has the capability to mesmerise with his tone and delivery and while he was brought right to the forefront of the Starcastle sound, by no means does he overshadow it. The second track 'Dawning Of The Day' is a bright and airy track allowing the arranging skills of the band to shine through. The keyboards really do rule, especially when you consider this was a twin guitar band, however Matthew Stuart and Stephen Hagler's six string work is still an integral part of what is going on here. The third track 'Silver Winds' continues in the same style. It's a catchy symphonic progressive rock track which just stucks in your head and refuses to get out of there. It has a more commercial feel, but the use of odd rhythm patterns and the synth layers keep it from be a mere AOR song. The fourth track 'True To The Light' adds even more pomp to Starcastle's sound. Schildt is in absolutely imperious from as he conducts and marshals all the other instruments in impressive fashion and the layers of vocals are simply sublime. The fifth track 'Portraits' is a very catchy track that also contains some of the standout guitar work on the album. It's a relaxed track with very beautiful melodies and instrumental sections dominated by the Moog sounds of Schildt, who actually is the most dominant musician in Starcastle's sound. The sixth track 'Diamond Song (Deep Is The Light)' comprises nice melodies, beautifully crafted vocal harmonies, an excellent organ solo, and a great Strater bass playing. With its chorus and multi-vocal parts in a more commercial vibe, they illustrate what would be the third album 'Citadel'.

Conclusion: 'Fountains Of Light' has gorgeous harmonies, bass lines playing as a lead instrument, symphonic keyboard flourishes, excellent guitar playing, impeccable drumming and nice vocals. It's true that it sounds like Yes, but it sounds like the 'Great Yes'. This is as good as anything Yes was putting out in the end of the 70's. But, there is here something more than Yes. There's also an American outlook added with hints of Kansas and a stronger helping of Styx ensuring that Starcastle weren't quite a Yes' pure clone. I don't deny that the keyboard of Herb Schildt, the bass playing of Gary Strater and voice of Terry Luttrell do strongly rely on Wakeman, Squire and Anderson for inspiration. But, when the results are this convincing, does that really matter? This is a classic of 70's American prog rock, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

A very, very strong album that serves as an Anathema redux.

As a long time Anathema fan, I was deeply saddened by all the recent drama which ultimately led to their abrupt disbanding. One would have thought we wouldn't get fresh new music - but this release proves otherwise.

This album is pure class and feels extremely comforting - I've had it on repeat and all of the songs are nothing short of exceptional. Danny's writing is emotionally charged and fitting, but I'm not even going to attempt to dissect the lyrics given they seem to be a function of whatever he's been going through lately. Musically, this is Anathema to a core and delivers in spades (hell, Weather Systems is even named after my favourite album from them - and this seems to continue that mood).

I recommend all Anathema fans listen to this. It carries that same magic that made us fans in the first place.

One thing I'd like to say in closing is that I'd love to ultimately see some form of reconciliation and a reuniting of Anathema (as we previously knew it). While this album is incredible, it's clear that 1+1 = 3 when it comes to the band (the sum of their collective efforts exceeds what they can do individually). Hopefully they can see eye-to-eye one day and we get that. But if not, I'm hopeful Danny continues with Weather Systems and keeps giving us gems like this.

For what is said to be Dream Theater's most commercially-oriented album, 'Falling Into Infinity' actually sits as one of the longest-running releases by the US progressive metal pioneers (at some seventy-eight minutes, precisely the length of a classic double album from the 1970s), as their fourth studio album presents a collection of songs that diverge from the darker stylistic tropes of 'Awake'. Abandoning their signature font for the album cover (which happens to be one of the least intriguing Storm Thorgerson covers), DT also seem to have abandoned their sense of originality on what can generally be seen as one of their more derivative and uninspired albums; and even if the stories around the recording of 'Falling Into Infinity' range from the band being pushed by their label to produce a more marketable album, to them creating exactly what they had wanted to, the entire album seems lackluster in terms of creativity and complexity, compared to its predecessors.

Containing two long tracks and having a total of eleven songs is definitely not a sign of an album that was supposed to be commercially acceptable and more easily marketable in my view. Amidst the difficult and transitory musical climate (for what concerns heavy music) in the late 1990s, the album really positions itself as mere entry in the band's catalogue, a placeholder even. However, despite the difficulties the band had supposedly faced, there are several fine moments on 'Falling Into Infinity' like 'Peruvian Skies', the heavier track 'Burning My Soul', the sole instrumental on the album titled 'Hell's Kicthen' as well as the album closer 'Trial of Tears', sitting at thirteen minutes of playtime. I also tend to enjoy the commercial sound of 'You Not Me', which seems to be an indicator that the band is quite good at writing radio-friendly material. The rest of the album sounds timid and uninspired as well as quite forgettable - unsurprisingly perhaps, most of the songs on here have seemingly not been able to break into the "Dream Theater pantheon".

80's was a very dificult moment to the prog music, Its very common great progressive bands in this moment just forget to be prog, that is not a problem unique of renaissance.

The album have two big problems that make it deserve a " Collectors/fans only "

1°) this is not a progressive album, the effect of 80's on the prog scene, sounds more like abba or something like that

2°) this is a bad album, if you dont care about prog and just look for a nice song, this album barelly have one song that sound good

not a prog album, and a bad non-prog album